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‘It’s like tripping’ says French artist entombed in rock

An artist entombed inside a 12-tonne rock for nearly three days has described the experience as like "tripping", insisting he would stick it out for a week.

'It's like tripping' says French artist entombed in rock
French performance artist Abraham Poincheval. Photo: Joel Saget/AFP
Speaking to AFP through a crack in the limestone boulder late Friday, Abraham Poincheval said he had been buoyed by how his performance has “got into people's heads”.
 
The artist made headlines worldwide when the two halves of the rock closed around him on Wednesday at a Paris art museum.
 
Poincheval, 44, had carved out a hole inside the rock in his own image, just big enough for him to sit up in, with a niche to hold supplies of water, soup and dried meat.
 
“People seem to be very touched. They come and talk into the crack, read poetry to me, or tell me about their nightmares or their dreams,” he said.
 
“They are not so much talking to me, I think, as to the stone. I am very happy that the stone has got into their heads.”
 
If he survives the ordeal, the performance artist who has previously spent a fortnight sewn-up inside a stuffed bear, will attempt to become a human hen and hatch a dozen eggs by sitting on them for weeks on end.
 
Lack of sleep rather than claustrophobia is his biggest worry inside the darkness of the rock, he confessed.
 
Without a watch – and with only an emergency phone line – he has no way to tell the time.
 
“I can sleep but it is very hard. It is very strange, I don't know whether I am sleeping well or not.”
 
Even though he can only move his feet and hands a few inches, “I do not feel oppressed (by the rock), I feel completely at ease, in real connection with it.
 
“Right now, it's sweet. Like when you are starting to climb a mountain. But I know it will get difficult,” said Poincheval, who is having store his own excrement around him.
 
“For now, it is OK,” he said, adding there had been “no accidents” peeing into his empty water bottles.
 
“We are already locked into our own bodies,” the artist told AFP minutes before climbing inside the rock at the Palais de Tokyo to become what he called the boulder's “beating heart”.
 
However, he admitted that emotionally, his time inside has been something of a rollercoaster.
 
“It's very complex. You pass from one feeling to an another. Like you are being carried away on a raft,” he said.
 
“It's like tripping.”
 
To keep a hold on himself, the man dubbed France's most extreme artist has been keeping a diary, which he will later publish.
 
Poincheval is certainly no stranger to bizarre and hair-raising performances.
 
He ate worms and beetles while living inside the bear, was buried under a rock for eight days and navigated France's Rhone river inside a giant plastic corked bottle.
 
He has crossed the Alps in a barrel, and last year spent a week on top of a 20-metre (65-foot) pole outside a Paris train station.
 
The artist also spent 20 days underground as a human mole and lived like a Stone Age man with his former sidekick Laurent Tixador on a small rocky island in the Mediterranean off the southern city of Marseille.
 
The pair also walled themselves into a cave for a night with hundreds of mosquitos and crossed France in a straight line on foot.
 
Poincheval's big dream, however, remains to “walk on the clouds. I have been working on it for five years, but it is not quite there yet,” he added.
 
Unorthodox ideas seem to run in the family.
 
His inventor father Christian, who sports a bowler hat and a white Santa Claus beard, is best known for coming up with pills that make farts smell of roses, violets and even chocolate.
 
The artist said his spirit of adventure comes from a child-like love of exploration.
 
He said his own children, aged six and eight, “are still young enough not to think it weird that I am going off to go live in a rock or inside a bear.”
 
As Poincheval finished speaking, a nine-year-old girl called Daria shouted through the crack to tell him that she had been allowed to come and see him for her birthday.
 
“I am a fan,” she added. “What he does is really cool.”

ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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